I'll give Karthik G Krish this much: he is a director with ideas. Take the stretch where a man has to hand over the woman he loves to a bunch of gangsters, because they have a gun on his best friend's head. Later, when all works out and the man attempts to reclaim his woman, she refuses. She says he should have thought of her safety first. He says, "I've known my best friend for 25 years." She replies, "So I'll have to wait for 25 years before I know you'll think of me first?" It's a snappy line, and a great thought. She is really mad, because she has guarded herself against men and the one man she let her guard down with has done this to her. At this point, we need the writing to take this girl from "all men are the same" to "yes, this man did something shitty, but he is indeed different." And that, the writing never does. The closure to this dilemma is silly to the point of being insulting.
That's Takkar for you. It's filled with good ideas that are executed badly, either because of the writing or the performances. The casting is terrible. Abhimanyu Singh (the villain) and Divyansha Kaushik (the heroine), particularly, are fishes out of this water. Only Siddharth slips comfortably into his character's skin. The film is being sold as an action movie, but it's a lot more. The Siddharth character, a somewhat angry young man named Gunasekaran, is sick of being poor. He wants money, lots of it. The heroine, named Lucky, is super-rich, and also super-tired of the men who want her only because of her riches. That's a solid idea for a drama, but it is squandered because the film cannot make up its mind whether to flavour this drama with action or romance or comedy. Speaking of comedy, there's, again, a great idea about a red car and a green car, but the running-gag potential is never realised.
The writing, at one point, involves a pink teddy bear because… I don't even want to think about it. Takkar could have been a good road movie built on the holy pillars of commercial cinema: action, comedy, and romance. But the messy film ends up all over the place. You look at the basic idea and say "nice", but nothing is fleshed out with any kind of conviction. When you hear of Yogi Babu as a wannabe, Mumbai-based gangster who has come to Chennai for gangster-training, the idea is automatically funny. But every scene involving the comedian is spectacularly unfunny. Takkar is a classic case of something that must have sounded good during narration. It must have sounded so wacky, so different for a "commercial film". But the way it's been pulled off is painful. Siddharth may be getting the blows, but we end up being bruised.